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This programme contains some strong language | 0:00:02 | 0:00:06 | |
We're living in a new age of invention. | 0:00:06 | 0:00:08 | |
Brilliant brains are no longer just holed up in leading university labs | 0:00:08 | 0:00:12 | |
or research facilities. | 0:00:12 | 0:00:15 | |
Today inventors are coming together in technology hubs like this | 0:00:16 | 0:00:19 | |
to design - to help improve people's lives. | 0:00:19 | 0:00:23 | |
It's actually working. That's so cool! | 0:00:23 | 0:00:26 | |
For this series, we've brought together | 0:00:26 | 0:00:28 | |
seven of the UK's leading engineers, designers | 0:00:28 | 0:00:30 | |
and computer programmers... | 0:00:30 | 0:00:32 | |
Ta-da! | 0:00:32 | 0:00:33 | |
I'm going to make myself the guinea pig. | 0:00:33 | 0:00:35 | |
They will use cutting-edge science and technology | 0:00:35 | 0:00:38 | |
to build life-changing solutions for people in desperate need. | 0:00:38 | 0:00:41 | |
I don't know who to ask. | 0:00:41 | 0:00:44 | |
Or where to go. | 0:00:45 | 0:00:46 | |
In pain. Uncomfortable. | 0:00:46 | 0:00:48 | |
From helping individuals who are seriously ill... | 0:00:48 | 0:00:51 | |
-HE EXHALES -Whoa! | 0:00:51 | 0:00:53 | |
..to solving issues affecting entire communities... | 0:00:53 | 0:00:57 | |
Someone is either going to get seriously injured and can't get aid, | 0:00:57 | 0:00:59 | |
or someone's going to die. | 0:00:59 | 0:01:01 | |
They'll attempt to tackle major problems | 0:01:01 | 0:01:03 | |
that have so far gone unsolved. | 0:01:03 | 0:01:06 | |
I think I've created something really new | 0:01:06 | 0:01:08 | |
and possibly revolutionary. | 0:01:08 | 0:01:11 | |
The potential of this is massive. | 0:01:11 | 0:01:13 | |
Fingers crossed...nothing cracks or explodes. | 0:01:13 | 0:01:16 | |
This week, they'll try to give a voice | 0:01:17 | 0:01:19 | |
to a paralysed man who can no longer speak. | 0:01:19 | 0:01:22 | |
To enable him to have a bit of quality of life, I'd do anything. | 0:01:22 | 0:01:27 | |
They'll attempt to give a teenage boy | 0:01:27 | 0:01:29 | |
the chance to ride a bike for the very first time. | 0:01:29 | 0:01:32 | |
This exercise has really illustrated how difficult it is. | 0:01:32 | 0:01:36 | |
If you don't succeed, try, try, try again. | 0:01:36 | 0:01:39 | |
And they'll design new technology | 0:01:39 | 0:01:41 | |
they hope will stop a national crimewave. | 0:01:41 | 0:01:44 | |
Nine of them dead, they got suffocated. | 0:01:44 | 0:01:46 | |
The police don't stand a chance. | 0:01:46 | 0:01:48 | |
They've got to catch them red-handed. | 0:01:48 | 0:01:49 | |
If they succeed, they could change these people's lives | 0:01:49 | 0:01:53 | |
and the lives of many more. | 0:01:53 | 0:01:55 | |
Yeah! | 0:01:57 | 0:02:00 | |
It's life-changing. | 0:02:00 | 0:02:01 | |
Our team's base is in east London. | 0:02:08 | 0:02:11 | |
It's one of a national network of maker spaces | 0:02:11 | 0:02:13 | |
for a new generation of inventors. | 0:02:13 | 0:02:15 | |
Crammed full of the latest technology, | 0:02:17 | 0:02:18 | |
it's from here that our seven leading inventors | 0:02:18 | 0:02:21 | |
will attempt to create fixes for people with nowhere else to turn. | 0:02:21 | 0:02:24 | |
I'm excited about what we're going to learn. | 0:02:24 | 0:02:26 | |
I can't wait to meet these people. | 0:02:26 | 0:02:28 | |
The team includes a director from Microsoft, | 0:02:28 | 0:02:30 | |
engineers who worked at Dyson's innovation labs, | 0:02:30 | 0:02:33 | |
award-winning designers who've built everything from ambulances | 0:02:33 | 0:02:36 | |
to earthquake centres. | 0:02:36 | 0:02:38 | |
Let's get our sleeves rolled up and get stuck in. | 0:02:38 | 0:02:40 | |
I'm Simon Reeve. | 0:02:40 | 0:02:42 | |
Over the next nine months, I'll be working with this brilliant team. | 0:02:42 | 0:02:45 | |
Today I'm in Peterborough, | 0:02:47 | 0:02:48 | |
meeting the first person who's asked for the team's help. | 0:02:48 | 0:02:51 | |
It's the first floor for Graham. | 0:02:52 | 0:02:55 | |
This is Graham. | 0:02:55 | 0:02:57 | |
Hello, Graham. | 0:02:58 | 0:02:59 | |
Fist bump, I gather? | 0:03:00 | 0:03:02 | |
55-year-old Graham Bullivant has partial locked-in syndrome | 0:03:02 | 0:03:06 | |
and desperately needs a better way to communicate. | 0:03:06 | 0:03:09 | |
There is no rush. | 0:03:10 | 0:03:11 | |
It goes whatever speed you want. Don't rush for us. | 0:03:11 | 0:03:13 | |
'In 2014, Graham, an engineer and family man, | 0:03:15 | 0:03:19 | |
'suffered a massive stroke. | 0:03:19 | 0:03:21 | |
'He now only has limited movement of his head and left arm.' | 0:03:21 | 0:03:24 | |
"In pain all the time. | 0:03:28 | 0:03:30 | |
"I'm sure people forget." | 0:03:30 | 0:03:32 | |
His wife Zoe has been at his hospital bedside | 0:03:33 | 0:03:36 | |
every day for nearly two years. | 0:03:36 | 0:03:38 | |
Graham's brain works perfectly. | 0:03:41 | 0:03:43 | |
"I am normal inside." | 0:03:44 | 0:03:46 | |
"If Zoe's with me, I can face anything. | 0:03:48 | 0:03:51 | |
"I get frustrated." | 0:03:51 | 0:03:52 | |
I bet you do. | 0:03:53 | 0:03:55 | |
And technology must be a bit frustrating, as well. | 0:03:57 | 0:04:00 | |
This strikes me as being a hell of a lot better than nothing, | 0:04:00 | 0:04:04 | |
but a really inadequate form of communication. | 0:04:04 | 0:04:09 | |
It takes Graham more than three minutes to write a sentence | 0:04:12 | 0:04:15 | |
it would take just seconds to say. | 0:04:15 | 0:04:17 | |
I watch and wait and then read out what he's tapped. | 0:04:17 | 0:04:20 | |
"It's too slow. | 0:04:22 | 0:04:24 | |
"I can see everyone watching and reading | 0:04:24 | 0:04:27 | |
"out of the corner of my eyes." | 0:04:27 | 0:04:29 | |
And I'm wanting to say the words and break the silence, | 0:04:31 | 0:04:34 | |
while you're tapping away. | 0:04:34 | 0:04:36 | |
Must be incredibly frustrating for somebody | 0:04:36 | 0:04:38 | |
who is very used to conversing, talking, chatting. | 0:04:38 | 0:04:42 | |
The stylus I invented, | 0:04:44 | 0:04:45 | |
because we've bought so many stylus for Graham to try, | 0:04:45 | 0:04:48 | |
they're either too heavy or too short. | 0:04:48 | 0:04:51 | |
After an hour of writing, Graham is exhausted. | 0:04:53 | 0:04:55 | |
So we leave him to rest. | 0:04:55 | 0:04:57 | |
Happy with that? | 0:04:57 | 0:04:58 | |
Can you face talking about what life was like before it happened? | 0:04:58 | 0:05:01 | |
Before? Oh, brill. | 0:05:03 | 0:05:05 | |
Oh, my God. Fantastic. | 0:05:05 | 0:05:07 | |
Every day was a blessing. | 0:05:07 | 0:05:09 | |
You were married, you've been married for how long? | 0:05:09 | 0:05:13 | |
Over 30 years. Way over 30 years. | 0:05:13 | 0:05:16 | |
I was spoilt, really. | 0:05:16 | 0:05:18 | |
He did everything for me. | 0:05:18 | 0:05:19 | |
Have nice times, have holidays, he took all that pressure. | 0:05:19 | 0:05:23 | |
And now it's my turn. | 0:05:25 | 0:05:26 | |
And, my God, it's come as a big shock. | 0:05:26 | 0:05:31 | |
When was the last time you actually heard his voice? | 0:05:31 | 0:05:33 | |
14 months ago. | 0:05:37 | 0:05:39 | |
When Graham lost his voice and I said to everybody, | 0:05:39 | 0:05:44 | |
one of the things I said to all my friends and family, | 0:05:44 | 0:05:47 | |
"Get a recording of your husband or boyfriend." | 0:05:47 | 0:05:50 | |
Because, my God, did I miss that. | 0:05:50 | 0:05:52 | |
That, "Goodnight, I love you." | 0:05:52 | 0:05:55 | |
That was horrendous! | 0:05:55 | 0:05:57 | |
Not having his voice. | 0:05:57 | 0:05:59 | |
So I asked everybody, "Have you got a video?" | 0:06:00 | 0:06:02 | |
Nothing. | 0:06:03 | 0:06:04 | |
Nothing. | 0:06:05 | 0:06:07 | |
I'll do anything for Graham. | 0:06:07 | 0:06:09 | |
Now I've got to. I've got to. | 0:06:09 | 0:06:11 | |
To enable him to have a bit of quality of life. | 0:06:11 | 0:06:14 | |
Back at the inventors' hub in London, | 0:06:18 | 0:06:20 | |
we talk through Graham's case. | 0:06:20 | 0:06:22 | |
What do we think, at the moment, Graham wants? | 0:06:24 | 0:06:27 | |
He wants to be able to communicate like he used to. | 0:06:27 | 0:06:29 | |
He's got to tap it all out and it's so frustrating. | 0:06:29 | 0:06:33 | |
Yeah, absolutely. | 0:06:33 | 0:06:34 | |
When you're hanging out with your family, | 0:06:34 | 0:06:36 | |
you want to express yourself emotionally and quickly. | 0:06:36 | 0:06:39 | |
It's what makes us us. | 0:06:39 | 0:06:42 | |
With these devices, they don't have an emphasis on, | 0:06:42 | 0:06:46 | |
"I would like to be sarcastic." | 0:06:46 | 0:06:47 | |
So that's something that we could, you know, help with. | 0:06:47 | 0:06:51 | |
Try and figure out a way to get digital voice to sound sarcastic. | 0:06:51 | 0:06:54 | |
It's something very profound that we're discussing, really, isn't it? | 0:06:54 | 0:06:58 | |
It's not just giving him a new voice. | 0:06:58 | 0:07:01 | |
In a way, it's giving him his old voice back. | 0:07:01 | 0:07:03 | |
Yusuf Muhammad is an award-winning industrial designer | 0:07:03 | 0:07:07 | |
who's worked extensively with the NHS. | 0:07:07 | 0:07:09 | |
Today, he's taking me to look for alternatives | 0:07:10 | 0:07:12 | |
for Graham's stylus pen and iPad. | 0:07:12 | 0:07:14 | |
We meet Gary Derwent, an expert in assisted technologies. | 0:07:17 | 0:07:21 | |
So we're just seeing that the system is picking up your eyes. | 0:07:21 | 0:07:24 | |
He's going to demonstrate a system called Eye Gaze. | 0:07:24 | 0:07:26 | |
Stable signal. | 0:07:27 | 0:07:28 | |
-ARTIFICIAL VOICE: -W, E... | 0:07:28 | 0:07:30 | |
Get ready to watch the orange circle. | 0:07:30 | 0:07:32 | |
This is the jewel in the crown of communication aids, | 0:07:33 | 0:07:36 | |
where an infrared camera allows you to control the system | 0:07:36 | 0:07:39 | |
with your eyes alone. | 0:07:39 | 0:07:41 | |
It's taking about 25 pictures a second of your eyes | 0:07:41 | 0:07:44 | |
to differentiate the centre of your pupil | 0:07:44 | 0:07:47 | |
and what they call the glint in your eye. | 0:07:47 | 0:07:50 | |
When your eyes move, the glint stays in the same place, | 0:07:50 | 0:07:52 | |
but the centre of your pupil moves. | 0:07:52 | 0:07:54 | |
-It's looking for the glint in my eye? -It is. | 0:07:54 | 0:07:56 | |
Brilliant! I love it. | 0:07:56 | 0:07:58 | |
You select letters or words | 0:07:58 | 0:08:00 | |
by letting your gaze rest on them for a moment. | 0:08:00 | 0:08:02 | |
-ARTIFICIAL VOICE: -Hi... | 0:08:02 | 0:08:03 | |
..there, | 0:08:06 | 0:08:07 | |
how... | 0:08:07 | 0:08:09 | |
are... | 0:08:09 | 0:08:10 | |
And it uses an artificial voice, | 0:08:10 | 0:08:12 | |
letting the user join in the conversation. | 0:08:12 | 0:08:15 | |
-VOICE: -Hi there, how are you doing? | 0:08:15 | 0:08:17 | |
It feels like I'm controlling the device with my mind. | 0:08:17 | 0:08:21 | |
What extraordinary technology. | 0:08:21 | 0:08:24 | |
-VOICE: -Hi, Simon, I'm doing well. I am writing with my eyes. | 0:08:24 | 0:08:27 | |
The Eye Gaze could be the basis | 0:08:28 | 0:08:29 | |
for a new communication system for Graham. | 0:08:29 | 0:08:31 | |
But Yusuf doesn't think it will solve all of his problems. | 0:08:31 | 0:08:35 | |
Fatigue is such a big, big thing. | 0:08:36 | 0:08:38 | |
And I can tell, from just trying the system, that maintaining your gaze, | 0:08:38 | 0:08:43 | |
I'm sure after a while it's going to be...quite laborious. | 0:08:43 | 0:08:47 | |
So maybe he could use the pen from time to time, | 0:08:47 | 0:08:49 | |
or he could use a switch controller. | 0:08:49 | 0:08:51 | |
The next step is for Gary to meet Graham and assess him. | 0:08:54 | 0:08:57 | |
So we're just going to do some calibration. | 0:08:57 | 0:09:00 | |
These are the Eye Gaze cameras here at the bottom. | 0:09:00 | 0:09:02 | |
There's going to be a dot that will appear on the screen | 0:09:02 | 0:09:04 | |
and it'll move around. | 0:09:04 | 0:09:06 | |
So your job is just to look at the dot and follow it. | 0:09:06 | 0:09:08 | |
Are you finding that the dot is following your eye? | 0:09:10 | 0:09:13 | |
No, it's not picking up exactly where you're looking at. No. | 0:09:13 | 0:09:17 | |
Nerve damage, caused by the stroke, | 0:09:18 | 0:09:20 | |
has affected Graham's eyes and pupils. | 0:09:20 | 0:09:23 | |
So the camera is struggling to follow his gaze. | 0:09:23 | 0:09:26 | |
Looking at what we've just witnessed... | 0:09:28 | 0:09:30 | |
..might be the wrong route. | 0:09:31 | 0:09:32 | |
So if Eye Gaze isn't the thing, that's fine. | 0:09:32 | 0:09:35 | |
You know, it isn't right for everybody. | 0:09:35 | 0:09:37 | |
I'm really pleased that you've come, so you can see how we're struggling. | 0:09:38 | 0:09:42 | |
But obviously, if that's not the right angle to go down, | 0:09:42 | 0:09:45 | |
-we'll try something else. I'm not giving up. -Yes. | 0:09:45 | 0:09:48 | |
It's hugely disappointing, | 0:09:49 | 0:09:51 | |
the Eye Gaze system doesn't work for Graham. | 0:09:51 | 0:09:54 | |
Another solution has to be found. | 0:09:54 | 0:09:56 | |
Back at the inventors' hub, | 0:10:02 | 0:10:04 | |
the team are getting ready for their next challenge - | 0:10:04 | 0:10:07 | |
to build a bike for Oscar, a disabled teenager. | 0:10:07 | 0:10:10 | |
Yusuf will lead the case. | 0:10:10 | 0:10:12 | |
Why did you want to get involved with this particular fix? | 0:10:17 | 0:10:20 | |
Well, I mean, I love bikes, I'm really passionate about cycling | 0:10:20 | 0:10:24 | |
and I think it's the kind of extra freedom it gives you. | 0:10:24 | 0:10:26 | |
We used to cycle to and from the park, | 0:10:26 | 0:10:28 | |
the wind in my hair - when I had hair! | 0:10:28 | 0:10:31 | |
And just the independence | 0:10:31 | 0:10:34 | |
of being able to explore your local area is very cool. | 0:10:34 | 0:10:38 | |
You sound like the right man for this fix, Yusuf. | 0:10:38 | 0:10:42 | |
I hope so. I hope so. | 0:10:42 | 0:10:44 | |
We're in the West Midlands to meet Oscar, | 0:10:45 | 0:10:48 | |
who seems to be a whizz in the kitchen. | 0:10:48 | 0:10:51 | |
He puts us to work. | 0:10:51 | 0:10:52 | |
Chop some mushrooms, maybe? | 0:10:52 | 0:10:54 | |
I think you'll find that's my job! | 0:10:54 | 0:10:56 | |
We've been here at least two minutes and we haven't had a cup of tea. | 0:10:56 | 0:10:58 | |
What are you like?! | 0:10:58 | 0:10:59 | |
Are you a keen cooker, Oscar? | 0:11:01 | 0:11:03 | |
-Yeah. -What do you like about it? | 0:11:03 | 0:11:05 | |
-The eating, or the...? -Cooking. | 0:11:06 | 0:11:09 | |
Oscar has Moebius syndrome, | 0:11:10 | 0:11:12 | |
a rare genetic condition which means he was born with no hands or feet. | 0:11:12 | 0:11:16 | |
I can do the same as everyone, | 0:11:17 | 0:11:21 | |
-but it would, like, take me a little bit longer. -Right. | 0:11:21 | 0:11:24 | |
But there's something his friends can do that Oscar can't. | 0:11:25 | 0:11:28 | |
And that's ride a bike. | 0:11:28 | 0:11:31 | |
You've got two different prosthetics on your lower legs, haven't you? | 0:11:31 | 0:11:35 | |
Yeah. | 0:11:35 | 0:11:36 | |
And obviously, that's going to have an impact | 0:11:36 | 0:11:38 | |
on how Yusuf creates the cycle for you. | 0:11:38 | 0:11:41 | |
Mm. | 0:11:41 | 0:11:42 | |
Are you going to perch in? | 0:11:42 | 0:11:44 | |
'I learn more about Oscar's condition from his mum, Lisa.' | 0:11:44 | 0:11:47 | |
So he's got heels on both. | 0:11:47 | 0:11:50 | |
-Yeah. -And ankle joints. | 0:11:50 | 0:11:52 | |
So he's got sort of a third to a half a foot on this side. | 0:11:52 | 0:11:57 | |
Yeah. | 0:11:57 | 0:11:59 | |
-What did he say? -Can he have a drink? | 0:12:00 | 0:12:02 | |
He's off! | 0:12:04 | 0:12:06 | |
He's such a lad. | 0:12:06 | 0:12:07 | |
He's just about to become a teenager. | 0:12:07 | 0:12:10 | |
Oh, yes. | 0:12:10 | 0:12:11 | |
And for teenage boys, bikes aren't just about getting around. | 0:12:12 | 0:12:15 | |
They're part of growing up. | 0:12:15 | 0:12:17 | |
Without a bike, Oscar's being left behind. | 0:12:17 | 0:12:20 | |
It's just kids their age, however thoughtful they are, | 0:12:20 | 0:12:24 | |
-at some point they're going to want to cycle away. -Yeah. | 0:12:24 | 0:12:26 | |
And then he's left standing there on his own. | 0:12:26 | 0:12:29 | |
It's impossible for Oscar to ride a standard bike | 0:12:29 | 0:12:32 | |
because he has no hands to grip the handlebars. | 0:12:32 | 0:12:34 | |
Yusuf needs to come up with a custom alternative. | 0:12:36 | 0:12:39 | |
We've come to Oscar's school to get a better idea of what he wants. | 0:12:40 | 0:12:44 | |
Oscar, which handlebars do you prefer? | 0:12:46 | 0:12:48 | |
These. | 0:12:48 | 0:12:50 | |
-Seat? -This one. I want that one. | 0:12:51 | 0:12:53 | |
Oh... | 0:12:53 | 0:12:55 | |
-Yeah, that one goes. -Yeah? | 0:12:55 | 0:12:57 | |
-Yeah. -What bikes are cool at the moment? | 0:12:57 | 0:12:59 | |
BMX. | 0:12:59 | 0:13:01 | |
-So BMXs are cool and that's what you would like? -Yeah. | 0:13:01 | 0:13:04 | |
You think he'd much prefer a sort of a standard bike. Why was that? | 0:13:04 | 0:13:09 | |
Because all his life | 0:13:09 | 0:13:10 | |
he just didn't want to be known as different, really. | 0:13:10 | 0:13:13 | |
He just wants to fit in. | 0:13:13 | 0:13:14 | |
What is the most important thing to you about a bike? | 0:13:14 | 0:13:19 | |
Make it look like as normal as possible. | 0:13:19 | 0:13:22 | |
-Yeah. -I understand. | 0:13:23 | 0:13:25 | |
Back at the hub in London, the team are discussing the challenge. | 0:13:27 | 0:13:30 | |
-YUSUF: -Well, Oscar's never ridden a bike before. | 0:13:31 | 0:13:33 | |
Really just depends on how he takes to it. | 0:13:33 | 0:13:36 | |
Isn't this a really tricky one? | 0:13:36 | 0:13:38 | |
It's really, really tricky. | 0:13:38 | 0:13:39 | |
If we're trying to engineer something which has two wheels, | 0:13:39 | 0:13:44 | |
that's obviously a real challenge. | 0:13:44 | 0:13:45 | |
If he falls off, he could get quite hurt. | 0:13:45 | 0:13:47 | |
We need to think about it like, | 0:13:47 | 0:13:48 | |
"Would I be OK with this guy falling off a bike that I built?" | 0:13:48 | 0:13:52 | |
There's a lot of downsides to making this thing. | 0:13:52 | 0:13:54 | |
I don't know, I guess if you're going to graze your knees | 0:13:54 | 0:13:57 | |
and fall off bikes, | 0:13:57 | 0:13:58 | |
you know, this is the best age to do it. | 0:13:58 | 0:14:00 | |
If you give him the opportunity to cycle, | 0:14:00 | 0:14:04 | |
he will fall off, certainly, but he will fly, as well. | 0:14:04 | 0:14:08 | |
And that will change his life, I think. | 0:14:08 | 0:14:11 | |
Knowing the risks, Yusuf has come up with a plan. | 0:14:12 | 0:14:15 | |
So I have... | 0:14:16 | 0:14:18 | |
ordered myself an adult BMX. | 0:14:18 | 0:14:22 | |
I'm going to make myself the guinea pig, | 0:14:22 | 0:14:24 | |
try out a couple of these things, | 0:14:24 | 0:14:26 | |
so I can have an understanding of what's going to work for Oscar. | 0:14:26 | 0:14:29 | |
I mean, how is he going to steer? | 0:14:32 | 0:14:33 | |
I have to consider how he's going to brake. | 0:14:33 | 0:14:36 | |
So what we have here is a coaster brake, | 0:14:36 | 0:14:39 | |
right there in the centre of the wheel. | 0:14:39 | 0:14:41 | |
All Oscar has to do is backpedal | 0:14:41 | 0:14:45 | |
and the bike will brake, hands-free. | 0:14:45 | 0:14:48 | |
It's down to the park to try out his first prototype. | 0:14:49 | 0:14:51 | |
Pretty easy. | 0:14:55 | 0:14:56 | |
You can kind of screech to a halt. | 0:14:56 | 0:14:59 | |
It works fine, but it doesn't have enough stopping power. | 0:14:59 | 0:15:02 | |
Oscar will need a brake on the front wheel as well. | 0:15:02 | 0:15:05 | |
I've designed a new brake position. | 0:15:07 | 0:15:08 | |
Rather than pull the levers, | 0:15:08 | 0:15:10 | |
I've reversed the brake position so that Oscar, | 0:15:10 | 0:15:14 | |
all he has to do is push down with his forearms | 0:15:14 | 0:15:17 | |
and he can activate the brakes. | 0:15:17 | 0:15:19 | |
Back in the park, the front brake is proving to be a problem. | 0:15:20 | 0:15:23 | |
You see now... You see, I can do it now. | 0:15:24 | 0:15:27 | |
Now I can use the brake. | 0:15:27 | 0:15:29 | |
Now I can use that brake and feel fine. | 0:15:29 | 0:15:32 | |
But as soon as I'm standing up... | 0:15:32 | 0:15:33 | |
..I've got no bloody chance. So... | 0:15:34 | 0:15:36 | |
Whoa...! | 0:15:36 | 0:15:38 | |
BMXs aren't really designed to be ridden sitting down. | 0:15:38 | 0:15:42 | |
As soon as he operates the brake standing up... | 0:15:42 | 0:15:45 | |
Jesus! | 0:15:45 | 0:15:46 | |
..Yusuf loses his balance. | 0:15:46 | 0:15:48 | |
I think this exercise has really illustrated how difficult it is. | 0:15:53 | 0:15:58 | |
On a BMX like this it's not going to happen. | 0:15:58 | 0:16:00 | |
-It's not going to work? -No. | 0:16:02 | 0:16:04 | |
Adapting an off-the-shelf bike won't work. | 0:16:04 | 0:16:07 | |
Yusuf will have to build a completely new bike | 0:16:07 | 0:16:10 | |
from the bottom up. | 0:16:10 | 0:16:12 | |
The team are trying to design a way for Graham to communicate. | 0:16:18 | 0:16:21 | |
Ruby Steel is now leading the effort to find a solution. | 0:16:22 | 0:16:25 | |
What's the absolute minimum effort required to make a control happen? | 0:16:25 | 0:16:31 | |
She's a top design strategist. | 0:16:31 | 0:16:33 | |
Through in-depth research into Graham and his condition, | 0:16:34 | 0:16:37 | |
she'll decide what path the team will take. | 0:16:37 | 0:16:40 | |
It's like driving a car. | 0:16:40 | 0:16:41 | |
Like, you know, you use, like, your hands and you use your feet, | 0:16:41 | 0:16:44 | |
so you're not putting all the emphasis on just one movement. | 0:16:44 | 0:16:49 | |
After weeks of discussions and thousands of Post-it notes, | 0:16:49 | 0:16:52 | |
the team decide to build Graham his own bespoke communication system. | 0:16:52 | 0:16:57 | |
They are calling it the Reaction Pad. | 0:16:58 | 0:17:01 | |
The Reaction Pad is about giving Graham back his presence in a room. | 0:17:01 | 0:17:07 | |
The really tragic and most frustrating thing | 0:17:07 | 0:17:10 | |
for Graham at the moment | 0:17:10 | 0:17:12 | |
is that people are treating him like he's brain-dead when he's not. | 0:17:12 | 0:17:17 | |
The key thing is that he can say just a quick statement | 0:17:18 | 0:17:22 | |
whenever the urge comes across. | 0:17:22 | 0:17:26 | |
So it's just really key phrases | 0:17:26 | 0:17:28 | |
that will allow him to be part of a conversation | 0:17:28 | 0:17:32 | |
in a way that he just can't at the moment. | 0:17:32 | 0:17:34 | |
Ruby's in Peterborough to discuss the idea with Graham. | 0:17:35 | 0:17:38 | |
Hi, it's good to see you. Hi, Graham. Hi, Zoe. | 0:17:38 | 0:17:41 | |
This is Ross. | 0:17:41 | 0:17:43 | |
I'm going to ask another member of the design team... | 0:17:43 | 0:17:47 | |
Ross Atkin is a skilled designer and engineer | 0:17:47 | 0:17:49 | |
who specialises in developing technology for disabled people. | 0:17:49 | 0:17:53 | |
What we're proposing is an app that runs on the iPad. | 0:17:53 | 0:17:57 | |
We're sort of calling it the Reaction Pad at the moment | 0:17:57 | 0:17:59 | |
and it's, in essence, going to be a tablet to say things quickly. | 0:17:59 | 0:18:04 | |
Their idea is for Graham to communicate | 0:18:04 | 0:18:07 | |
using preloaded words and phrases. | 0:18:07 | 0:18:10 | |
When you pick up the tablet, the app or whatever, | 0:18:10 | 0:18:12 | |
this is the first screen you see. | 0:18:12 | 0:18:13 | |
"Help" in the middle, as being the most important thing. | 0:18:13 | 0:18:18 | |
When Graham pushes "help", | 0:18:18 | 0:18:19 | |
he'll be taken to another screen that contains different commands. | 0:18:19 | 0:18:22 | |
"In pain, uncomfortable, thirsty..." | 0:18:23 | 0:18:26 | |
The app will contain buttons for quick statements. | 0:18:26 | 0:18:29 | |
Things like, "Please, thank you..." | 0:18:29 | 0:18:32 | |
Buttons for fast questions. | 0:18:32 | 0:18:34 | |
"What, why, how?" | 0:18:34 | 0:18:35 | |
And buttons to get people's attention. | 0:18:35 | 0:18:38 | |
"Excuse me? Oi! Talk to me." | 0:18:38 | 0:18:41 | |
The device will speak for Graham using an automated voice. | 0:18:41 | 0:18:45 | |
One of the things we were trying to explore | 0:18:45 | 0:18:46 | |
is what we could do that would be | 0:18:46 | 0:18:49 | |
a sort of replacement of the robot voice. | 0:18:49 | 0:18:53 | |
They don't tend to be very expressive | 0:18:53 | 0:18:55 | |
and they don't tend to have a lot of emotion. | 0:18:55 | 0:18:57 | |
We were interested in the idea of using clips | 0:18:57 | 0:19:01 | |
from films and TV and cartoons. | 0:19:01 | 0:19:05 | |
Good? Or scrap? | 0:19:05 | 0:19:07 | |
-Good. -Good. | 0:19:08 | 0:19:09 | |
-ZOE: -He's smiling like a Cheshire cat! | 0:19:09 | 0:19:11 | |
And Ross thinks he can improve on Zoe's home-made stylus. | 0:19:13 | 0:19:17 | |
We know that you get tired operating a stylus | 0:19:18 | 0:19:21 | |
and so we're quite interested in | 0:19:21 | 0:19:24 | |
things that might work better than the stylus. | 0:19:24 | 0:19:26 | |
We could make you a thing that was just on a bit of cardboard | 0:19:26 | 0:19:29 | |
or a very, very thin and light | 0:19:29 | 0:19:31 | |
and it could have little touchpads, basically, printed on it, | 0:19:31 | 0:19:34 | |
so that you could touch them with your fingers or with the stylus. | 0:19:34 | 0:19:36 | |
OK. | 0:19:37 | 0:19:39 | |
Thank you, Graham. | 0:19:39 | 0:19:41 | |
-See you next week. -Yeah, take care. | 0:19:41 | 0:19:43 | |
-ZOE: -"Have a drink for me." | 0:19:45 | 0:19:49 | |
-All right. -Can definitely take care of that! | 0:19:49 | 0:19:52 | |
-Can definitely do that. -Thanks, Graham. -Thank you, Graham. | 0:19:52 | 0:19:54 | |
Thanks, guys. Nice meeting you. | 0:19:54 | 0:19:56 | |
Yusuf is heading back to the West Midlands. | 0:20:02 | 0:20:05 | |
The first BMX he adapted wouldn't work for Oscar, | 0:20:05 | 0:20:09 | |
so he's decided to come up with an entirely new design. | 0:20:09 | 0:20:12 | |
Just going to off-load so we can do some different exercises today. | 0:20:12 | 0:20:16 | |
The first thing we can see is the seat is a bit low already. | 0:20:17 | 0:20:20 | |
He's building a customised bike for Oscar | 0:20:20 | 0:20:23 | |
and he needs precise measurements. | 0:20:23 | 0:20:26 | |
Pedal fast. | 0:20:26 | 0:20:27 | |
OK, steer left. | 0:20:29 | 0:20:30 | |
And...brake now. | 0:20:31 | 0:20:33 | |
-They're fine. -I think we've got the makings of a bike design. | 0:20:34 | 0:20:38 | |
Once Yusuf has the measurements, | 0:20:40 | 0:20:42 | |
he transfers them onto the rear of a tandem bike for Oscar to test. | 0:20:42 | 0:20:46 | |
But there's a problem... | 0:20:48 | 0:20:49 | |
I'm not going on this. | 0:20:49 | 0:20:51 | |
No. | 0:20:51 | 0:20:52 | |
Oscar's never been on a moving bicycle before. | 0:20:52 | 0:20:54 | |
He's worried. | 0:20:54 | 0:20:55 | |
-I'm worried. -Yeah. -I'm worried you're going to make me fall off... | 0:20:57 | 0:21:02 | |
-Yeah. -..and I don't really think I can ride a bike. | 0:21:02 | 0:21:05 | |
I'm scared. | 0:21:05 | 0:21:07 | |
They're my worries. | 0:21:07 | 0:21:08 | |
I think it's natural to feel scared. | 0:21:08 | 0:21:11 | |
-I'm not riding it. -It's a scary thing. | 0:21:11 | 0:21:14 | |
-I will only do it... -Yeah. | 0:21:14 | 0:21:16 | |
..if someone is holding the back of me. | 0:21:16 | 0:21:21 | |
Because if I fall, I don't want to die. | 0:21:21 | 0:21:23 | |
-You're not going to die. -It's only a bike. -Oh...! | 0:21:23 | 0:21:26 | |
Go on, have a go. | 0:21:26 | 0:21:28 | |
If I fall off, I'm suing! | 0:21:31 | 0:21:33 | |
OK. | 0:21:33 | 0:21:35 | |
No jokes. | 0:21:35 | 0:21:36 | |
OK, so we're going to start slowly, I'm not going to pedal, | 0:21:36 | 0:21:40 | |
we're just going to go forward, OK? | 0:21:40 | 0:21:43 | |
So you pedal, you pedal. | 0:21:43 | 0:21:45 | |
You pedal. | 0:21:45 | 0:21:46 | |
Trust him. | 0:21:46 | 0:21:47 | |
Please, help me. | 0:21:51 | 0:21:53 | |
OK, now I think it would be worth giving a go without Mum. | 0:21:53 | 0:21:58 | |
-No, that's not happening! -Go on, then. -Fine. | 0:21:58 | 0:22:00 | |
I'll hold on if that's going to be a problem. | 0:22:00 | 0:22:03 | |
-Go. -Here we go. | 0:22:03 | 0:22:04 | |
Come on, then. | 0:22:04 | 0:22:06 | |
Mum...! | 0:22:09 | 0:22:11 | |
I'm here. I'm holding on. | 0:22:11 | 0:22:12 | |
Holding the balance, yeah? | 0:22:12 | 0:22:14 | |
Yeah. | 0:22:14 | 0:22:15 | |
Think you can let go, Mum. | 0:22:19 | 0:22:21 | |
I am letting go. | 0:22:21 | 0:22:23 | |
Look up. | 0:22:28 | 0:22:29 | |
Easy. | 0:22:29 | 0:22:31 | |
Ready to stop? | 0:22:31 | 0:22:32 | |
Again, again, again! | 0:22:32 | 0:22:34 | |
Ready to go again? | 0:22:34 | 0:22:36 | |
Mum, you've got to hold me! | 0:22:36 | 0:22:38 | |
Ready? | 0:22:38 | 0:22:39 | |
Easy. We've got this. | 0:22:43 | 0:22:45 | |
Great work. | 0:22:45 | 0:22:47 | |
Go all the way. | 0:22:48 | 0:22:50 | |
Keep going! Keep going! Keep going to the end! | 0:22:50 | 0:22:52 | |
Keep going to the end! | 0:22:52 | 0:22:54 | |
Wonderful to see and he's absolutely thrilled about it | 0:22:54 | 0:22:57 | |
because he wants to keep doing it and doing it and doing it. | 0:22:57 | 0:22:59 | |
It's lovely. | 0:22:59 | 0:23:01 | |
It's about him being the same. | 0:23:03 | 0:23:06 | |
It's just kids their age, however thoughtful they are, | 0:23:06 | 0:23:09 | |
at some point they're going to want to cycle away | 0:23:09 | 0:23:11 | |
and then he's left standing there on his own. | 0:23:11 | 0:23:14 | |
Keep going! | 0:23:14 | 0:23:15 | |
And I didn't want him to have to go through that. | 0:23:15 | 0:23:18 | |
If he's got a bike, he's able to be the same as everybody else. | 0:23:18 | 0:23:22 | |
-Thank you, Yusuf. -Yeah, no problem. | 0:23:25 | 0:23:27 | |
-Is my hair messed up? -No, it's perfect. | 0:23:27 | 0:23:30 | |
It's good, yeah. | 0:23:30 | 0:23:31 | |
Yusuf begins designing a bespoke BMX bike for Oscar. | 0:23:38 | 0:23:43 | |
I'd like to move the seat slightly more forward | 0:23:44 | 0:23:47 | |
and a little bit more upright. | 0:23:47 | 0:23:49 | |
What this is going to do is allow Oscar | 0:23:49 | 0:23:51 | |
to put most of his weight on his bum. | 0:23:51 | 0:23:53 | |
Changing the angle of the seat post | 0:23:53 | 0:23:56 | |
has a knock-on effect for every angle on the bike frame. | 0:23:56 | 0:23:59 | |
I'm going to set this... | 0:23:59 | 0:24:02 | |
to 260. | 0:24:02 | 0:24:03 | |
Steel tubes are cut precisely to match Yusuf's drawings... | 0:24:03 | 0:24:06 | |
..then TIG welded together to make the frame. | 0:24:11 | 0:24:12 | |
It's a long process with some late nights for Yusuf. | 0:24:14 | 0:24:17 | |
While Yusuf is building, Oscar's in training. | 0:24:21 | 0:24:24 | |
Go, Oscar, pedal, pedal, pedal. | 0:24:24 | 0:24:26 | |
He's learning from professional cycling coach Lisa Costa. | 0:24:26 | 0:24:30 | |
I think what we'll do, you've got more length that way. | 0:24:30 | 0:24:33 | |
So if we go down there... | 0:24:33 | 0:24:34 | |
Oscar's made good progress on the mountain bike, | 0:24:34 | 0:24:37 | |
but because he can't pull on the handlebars, | 0:24:37 | 0:24:40 | |
starting and stopping is proving tricky. | 0:24:40 | 0:24:42 | |
Pedal, pedal, pedal. | 0:24:42 | 0:24:43 | |
Designing the fixes is a long, arduous process. | 0:24:43 | 0:24:47 | |
Well done. Give me a high five. | 0:24:47 | 0:24:49 | |
It's three months since the first prototype | 0:24:49 | 0:24:50 | |
and only now has Yusuf been able to complete version two of the BMX. | 0:24:50 | 0:24:55 | |
So... | 0:24:55 | 0:24:56 | |
Wow! Look at that. | 0:24:58 | 0:25:00 | |
This here is the prototype. | 0:25:00 | 0:25:03 | |
A BMX-style frame, BMX wheels. | 0:25:03 | 0:25:06 | |
-What do you think, Oscar? -Yeah, I like it. | 0:25:06 | 0:25:09 | |
What about you, Lisa? | 0:25:09 | 0:25:11 | |
Practical wise, I'm a little bit concerned. | 0:25:12 | 0:25:14 | |
-Because there's no gearing. -Yep. -It's quite hilly round here. | 0:25:16 | 0:25:20 | |
He'll find it difficult going up the hills with this. | 0:25:20 | 0:25:22 | |
Lisa's also concerned about the BMX's dimensions. | 0:25:22 | 0:25:26 | |
If you just want to get on the bike for us. | 0:25:26 | 0:25:28 | |
His whole posture's... It's just too forward. | 0:25:32 | 0:25:35 | |
-Yeah. And you see how high his knees are coming up? -Yeah. | 0:25:35 | 0:25:38 | |
We need shorter cranks. | 0:25:40 | 0:25:42 | |
Yeah, we do. | 0:25:42 | 0:25:43 | |
But shortening cranks, the stems for the pedals, | 0:25:43 | 0:25:47 | |
will make pedalling harder. | 0:25:47 | 0:25:49 | |
I do really want a BMX. | 0:25:49 | 0:25:51 | |
I am super keen that... | 0:25:51 | 0:25:54 | |
..this BMX frame, | 0:25:55 | 0:25:58 | |
we find a configuration that will work with him. | 0:25:58 | 0:26:01 | |
If you don't succeed, try, try, try again. | 0:26:01 | 0:26:04 | |
I always find, as a designer, you just get, | 0:26:06 | 0:26:09 | |
people tell you it's completely wrong over and over again | 0:26:09 | 0:26:12 | |
until it's right. | 0:26:12 | 0:26:13 | |
So you have to kind of have a thick skin | 0:26:13 | 0:26:16 | |
and you have to appreciate that, ultimately, in order for it to work, | 0:26:16 | 0:26:20 | |
it's going to be wrong for a long... | 0:26:20 | 0:26:23 | |
It's going to be wrong for a while, if that makes sense. | 0:26:23 | 0:26:25 | |
So, yeah, we'll just have to roll with the punches | 0:26:25 | 0:26:29 | |
and back to the drawing board and get him what he needs. | 0:26:29 | 0:26:33 | |
The Fix Team are about to begin their third case, | 0:26:37 | 0:26:41 | |
tackling one of the UK's biggest rural crimes - | 0:26:41 | 0:26:44 | |
sheep rustling. | 0:26:44 | 0:26:46 | |
I'm in Somerset to meet Mike, | 0:26:47 | 0:26:49 | |
a farmer whose livelihood is being threatened | 0:26:49 | 0:26:52 | |
by criminals stealing his sheep in the dead of night. | 0:26:52 | 0:26:54 | |
What's happened when you've lost sheep before? | 0:26:56 | 0:26:58 | |
Can you just describe it? | 0:26:58 | 0:26:59 | |
They pinched them in two Transit vans. | 0:26:59 | 0:27:01 | |
And one of the Transit vans broke down. | 0:27:01 | 0:27:03 | |
And they left them in the back of the Transit van. | 0:27:04 | 0:27:07 | |
Then, when we let them out, nine of them were dead, they got suffocated, | 0:27:07 | 0:27:11 | |
or they were trampled to death. | 0:27:11 | 0:27:12 | |
To me, that was awful. | 0:27:12 | 0:27:14 | |
What sort of people would just leave sheep to die in them circumstances, | 0:27:14 | 0:27:18 | |
or let anything die in them circumstances? | 0:27:18 | 0:27:20 | |
Sheep rustling is one of the oldest crimes in Britain | 0:27:22 | 0:27:25 | |
and it's an increasing problem. | 0:27:25 | 0:27:27 | |
It's thought almost 100,000 sheep are stolen every year, | 0:27:27 | 0:27:31 | |
costing farmers millions of pounds. | 0:27:31 | 0:27:34 | |
How much of a problem is it around here? | 0:27:34 | 0:27:36 | |
Last year was a real problem. | 0:27:36 | 0:27:38 | |
The numbers are getting bigger. | 0:27:38 | 0:27:39 | |
Whereas it used to be twos and threes and fours and fives, | 0:27:39 | 0:27:42 | |
now it's trailer-loads, lorry-loads. | 0:27:42 | 0:27:45 | |
-Entire flocks. -And there was one person up North | 0:27:45 | 0:27:47 | |
who had 600 pinched one night. | 0:27:47 | 0:27:48 | |
The police don't stand a chance. | 0:27:48 | 0:27:50 | |
They've got to catch them red-handed. | 0:27:50 | 0:27:51 | |
I fed back what I'd learnt to the team in London. | 0:27:54 | 0:27:57 | |
Both sides of my family are farmers, | 0:27:58 | 0:28:00 | |
so I'm kind of aware of actually what it's like | 0:28:00 | 0:28:02 | |
to try and control a rural space. | 0:28:02 | 0:28:06 | |
An enormous challenge, I imagine. | 0:28:06 | 0:28:07 | |
It's not like bolting your front door, is it? | 0:28:07 | 0:28:10 | |
The space is the problem. | 0:28:10 | 0:28:12 | |
We need to do a kind of Crimewatch reconstruction. | 0:28:12 | 0:28:14 | |
So we need to find out as much as possible | 0:28:14 | 0:28:16 | |
about how the different crimes were committed, | 0:28:16 | 0:28:18 | |
find out what was in common. | 0:28:18 | 0:28:19 | |
Because that's the only way we're going to really understand | 0:28:19 | 0:28:21 | |
where the points that we can intervene, | 0:28:21 | 0:28:23 | |
in order to prevent it, are. | 0:28:23 | 0:28:24 | |
All right? | 0:28:27 | 0:28:28 | |
Dr Zoe Laughlin and Jude Pullen have come to the farm. | 0:28:28 | 0:28:31 | |
Mike and his three sons have agreed to reconstruct the night | 0:28:33 | 0:28:36 | |
their sheep were stolen. | 0:28:36 | 0:28:37 | |
Come on, Floss, here! Fetch them on. | 0:28:39 | 0:28:42 | |
Fetch them on. | 0:28:42 | 0:28:44 | |
Zoe is co-founder and director | 0:28:44 | 0:28:46 | |
of the Institute of Making at University College London. | 0:28:46 | 0:28:50 | |
So when you're rustled, I mean, they do it pretty silently? | 0:28:50 | 0:28:54 | |
Yeah, they know what they're doing. | 0:28:54 | 0:28:57 | |
And sheep will handle a lot different in the dark. | 0:28:57 | 0:28:59 | |
Will they be quieter or louder, the sheep? | 0:28:59 | 0:29:00 | |
They'll be quieter, | 0:29:00 | 0:29:02 | |
but they'll group together more and run a lot easier. | 0:29:02 | 0:29:04 | |
So you have to be kind of a skilled shepherd to round up sheep? | 0:29:04 | 0:29:06 | |
Oh, you've got to know what you're doing, yeah. | 0:29:06 | 0:29:08 | |
It's not as simple as it looks. | 0:29:08 | 0:29:09 | |
Come on, Fern, here! | 0:29:09 | 0:29:11 | |
Here, Fern! Here, Floss! | 0:29:11 | 0:29:13 | |
-So we're going to see how fast we can get them in. -Yeah. | 0:29:13 | 0:29:16 | |
-Under a minute I reckon. -Under a minute? | 0:29:16 | 0:29:19 | |
Jude is an award-winning design engineer. | 0:29:20 | 0:29:23 | |
Like Zoe, he also grew up in the countryside. | 0:29:23 | 0:29:25 | |
These ones need to get going. | 0:29:25 | 0:29:27 | |
HE WHISTLES | 0:29:27 | 0:29:28 | |
Get in. | 0:29:28 | 0:29:30 | |
The rustle happens at an impressive pace. | 0:29:30 | 0:29:32 | |
Within moments, the sheep are in the trailer. | 0:29:32 | 0:29:35 | |
So, this is pretty impressive. | 0:29:41 | 0:29:42 | |
You're getting this done in a relaxed way in about two minutes. | 0:29:42 | 0:29:45 | |
-Yeah. -And you're saying, if you wanted to, | 0:29:45 | 0:29:48 | |
if you were a serious criminal, | 0:29:48 | 0:29:49 | |
you could get this done in half that time? | 0:29:49 | 0:29:51 | |
Easy, yeah. If you were pushing, you could, easily. | 0:29:51 | 0:29:54 | |
-It's that simple. -That's it. | 0:29:55 | 0:29:58 | |
You can't lock this road, because it's public access. | 0:29:58 | 0:30:00 | |
Yeah, this is public, so we can't lock this road. | 0:30:00 | 0:30:02 | |
Yeah, it's all too easy. | 0:30:02 | 0:30:04 | |
Sheep rustlers nearly always work at night. | 0:30:06 | 0:30:08 | |
They cut out identifying ear tags | 0:30:09 | 0:30:10 | |
and can take the sheep almost anywhere for slaughter or sale. | 0:30:10 | 0:30:14 | |
In the last ten years, | 0:30:14 | 0:30:16 | |
only a handful of rustlers have been prosecuted. | 0:30:16 | 0:30:18 | |
After the reconstruction, we head to a pub | 0:30:22 | 0:30:24 | |
to talk through the potential solutions with Mike | 0:30:24 | 0:30:26 | |
and a group of other local farmers. | 0:30:26 | 0:30:28 | |
Zoe and Jude have got some bits of tech and kit to show you | 0:30:29 | 0:30:34 | |
which, hopefully, we are going to be able to look at and pick apart. | 0:30:34 | 0:30:38 | |
First, Zoe tries an infrared beam... | 0:30:38 | 0:30:40 | |
-When something crosses the beam... -BEEPING | 0:30:40 | 0:30:43 | |
..they sound an alarm. | 0:30:43 | 0:30:44 | |
You could easily imagine them between | 0:30:44 | 0:30:46 | |
exit and entry points of fields and that kind of thing. | 0:30:46 | 0:30:49 | |
The problem with that is, we live there, | 0:30:49 | 0:30:51 | |
and that's there, | 0:30:51 | 0:30:53 | |
which is probably about two and a half miles. | 0:30:53 | 0:30:55 | |
By the time we've got dressed, got a vehicle, got a dog... | 0:30:55 | 0:30:58 | |
Because you would never go anywhere without a dog, would you? | 0:30:58 | 0:31:00 | |
..and got up there, they could be long gone. | 0:31:00 | 0:31:04 | |
Then ultra-violet dye, | 0:31:05 | 0:31:06 | |
which is invisible until a UV light is shone on it. | 0:31:06 | 0:31:08 | |
It could be something that would be triggered to spray. | 0:31:09 | 0:31:12 | |
Criminals, you'd spray their truck, you'd spray the sheep. | 0:31:12 | 0:31:15 | |
-But then you've got to find who the criminal is to read the mark. -Yeah. | 0:31:15 | 0:31:19 | |
Then Jude shows off a sound-activated alarm | 0:31:19 | 0:31:21 | |
which he's hoping will detect when the sheep are distressed. | 0:31:21 | 0:31:25 | |
Now... | 0:31:25 | 0:31:26 | |
-on the tray... -What is this? | 0:31:26 | 0:31:28 | |
This device is, when the sort of bleats are at a gentle level, | 0:31:28 | 0:31:33 | |
it wouldn't really send much of a signal. | 0:31:33 | 0:31:35 | |
But when it gets too loud, | 0:31:35 | 0:31:37 | |
it would transmit through this little device via Wi-Fi. | 0:31:37 | 0:31:40 | |
And as you can see, if I check my phone, | 0:31:40 | 0:31:42 | |
-it's been alerting me that... -Sheep alert. -Sheep alert. | 0:31:42 | 0:31:45 | |
What do you think, gentlemen? | 0:31:45 | 0:31:47 | |
Is something like that viable? Could it work? | 0:31:47 | 0:31:49 | |
I think ewes with lambs at foot will bleat when they are distressed. | 0:31:49 | 0:31:52 | |
Yeah. | 0:31:52 | 0:31:53 | |
But store lambs, or hogs as we call them at this time of year, | 0:31:53 | 0:31:56 | |
very rarely do they bleat. | 0:31:56 | 0:31:58 | |
The farmers aren't convinced. | 0:32:00 | 0:32:01 | |
They reject all of Zoe and Jude's first ideas. | 0:32:01 | 0:32:04 | |
It's going to be a lot harder than they thought | 0:32:04 | 0:32:06 | |
to combat sheep rustling. | 0:32:06 | 0:32:07 | |
Back on Graham's case, | 0:32:15 | 0:32:16 | |
Ross and Ruby have been called to Peterborough. | 0:32:16 | 0:32:19 | |
Zoe's made a discovery that could revolutionise her project | 0:32:22 | 0:32:25 | |
to give Graham back his voice. | 0:32:25 | 0:32:27 | |
Is that what I think it might be? | 0:32:28 | 0:32:30 | |
-Are these tapes of Graham? -Yeah. | 0:32:31 | 0:32:33 | |
Oh, my God... | 0:32:33 | 0:32:35 | |
Builders were working in the attic and found an old box full of tapes. | 0:32:36 | 0:32:39 | |
Hello. Here's me, Graham, sitting with my daughter Louisa. | 0:32:48 | 0:32:53 | |
It's the first time Zoe's heard her husband's voice since his stroke. | 0:32:54 | 0:32:58 | |
Well, seven moods, you know? | 0:32:58 | 0:33:01 | |
Shouting at me! | 0:33:02 | 0:33:03 | |
Shouting at Louisa. | 0:33:03 | 0:33:05 | |
-ROSS: -Is this Graham talking? -Yeah. | 0:33:05 | 0:33:07 | |
Did he just say tea-time? | 0:33:07 | 0:33:09 | |
Would you like a bottle on it? | 0:33:10 | 0:33:12 | |
THEY ALL LAUGH | 0:33:16 | 0:33:18 | |
I love it! | 0:33:24 | 0:33:25 | |
-GRAHAM: -Ah... Let's have a big "Ah!" for Louisa. | 0:33:25 | 0:33:28 | |
You're not supposed to throw stones at the video camera. | 0:33:31 | 0:33:34 | |
-Here. -Argh! | 0:33:34 | 0:33:36 | |
-GRAHAM: -Whooh! Whooh! | 0:33:40 | 0:33:42 | |
-ROSS: -That's going to be great for getting people's attention. | 0:33:44 | 0:33:47 | |
No, that's Graham. | 0:33:47 | 0:33:49 | |
That is a strong look. | 0:33:50 | 0:33:52 | |
Dad, say something. | 0:33:52 | 0:33:53 | |
I'm knackered. | 0:33:53 | 0:33:55 | |
A quick flash! | 0:33:55 | 0:33:57 | |
-I told you he was naughty. -We can't have that. | 0:33:59 | 0:34:01 | |
He is so naughty! | 0:34:01 | 0:34:02 | |
Yay...! | 0:34:03 | 0:34:05 | |
-LOUISA: -And it's really nice looking at these lovebirds. | 0:34:06 | 0:34:09 | |
It's just amazing to actually see what he's really like. | 0:34:11 | 0:34:15 | |
-That's wicked. -OR what he used to be like. | 0:34:16 | 0:34:18 | |
Yeah, but he's still... He is still there. | 0:34:18 | 0:34:20 | |
-It's just he can't get it out. -Yeah. | 0:34:20 | 0:34:22 | |
Hard. | 0:34:24 | 0:34:25 | |
Now Ruby and Ross will take the tapes away | 0:34:25 | 0:34:28 | |
to see if they can build Graham's own voice into their invention. | 0:34:28 | 0:34:31 | |
Seeing him in those videos and seeing who he was... | 0:34:35 | 0:34:40 | |
..and for him to have lost that, imagine if that happened to you. | 0:34:41 | 0:34:46 | |
And imagine if you went from who he was | 0:34:46 | 0:34:49 | |
to being in the position he's in now. | 0:34:49 | 0:34:51 | |
The fact that you would have any positivity about anything after that | 0:34:51 | 0:34:54 | |
is just amazing, absolutely amazing. | 0:34:54 | 0:34:56 | |
Anyway, I thought I needed to say that while I was thinking about it. | 0:34:56 | 0:34:59 | |
While Ross and Ruby start trawling through the tapes of Graham's voice, | 0:35:01 | 0:35:05 | |
Yusuf is making progress with Oscar's bike. | 0:35:05 | 0:35:08 | |
There's a lot more that we need to do on the handlebars | 0:35:09 | 0:35:12 | |
to make him comfortable, to make him feel stable. | 0:35:12 | 0:35:16 | |
Oscar can't grip the handlebars, | 0:35:16 | 0:35:19 | |
so Yusuf designs and 3D prints various wrist attachments. | 0:35:19 | 0:35:23 | |
But Oscar doesn't want obvious disability aids on his bike. | 0:35:27 | 0:35:29 | |
Yusuf hits on a solution... | 0:35:31 | 0:35:32 | |
If we were to use Velcro and create a... | 0:35:34 | 0:35:38 | |
..almost like a wristband for him. | 0:35:39 | 0:35:41 | |
What it would mean is that we could have a surface on the handlebars | 0:35:42 | 0:35:46 | |
that he could...clip down into. | 0:35:46 | 0:35:50 | |
The idea that he could kind of steer with it is one I'd like to explore. | 0:35:50 | 0:35:54 | |
Yusuf is getting help a little closer to home | 0:35:57 | 0:36:00 | |
from an expert he knows can manufacture a Velcro armband. | 0:36:00 | 0:36:03 | |
My mum is helping out create the armbands. | 0:36:05 | 0:36:08 | |
The Velcro pads seem to be fairly easy to... | 0:36:10 | 0:36:14 | |
SEWING MACHINE JAMS | 0:36:14 | 0:36:16 | |
What you get is a very strong grip being formed. | 0:36:17 | 0:36:22 | |
So strong that I can hold the handlebar. | 0:36:23 | 0:36:26 | |
But if Oscar is in danger, it easily rips off. | 0:36:27 | 0:36:30 | |
And with a few final tweaks, | 0:36:32 | 0:36:34 | |
it's time to put the months of work to the test. | 0:36:34 | 0:36:37 | |
I feel very responsible. | 0:36:37 | 0:36:39 | |
I don't want to put him in harm's way. | 0:36:39 | 0:36:42 | |
Also, I don't want to disappoint him. He's put a lot of faith in me. | 0:36:42 | 0:36:46 | |
-Good luck. -Thanks, man. Thanks. | 0:36:48 | 0:36:50 | |
In a park near his home, | 0:36:51 | 0:36:52 | |
Oscar and his friends and family are waiting | 0:36:52 | 0:36:55 | |
to see if he can ride a bicycle. | 0:36:55 | 0:36:57 | |
Over the last eight months, Yusuf has built not one but two bikes. | 0:36:59 | 0:37:03 | |
A mountain bike for longer journeys and also Oscar's dream bike, | 0:37:03 | 0:37:07 | |
an incredible BMX. | 0:37:07 | 0:37:08 | |
That's fantastic. | 0:37:08 | 0:37:10 | |
The smartest BMX that you will see in Sandwell and Dudley. | 0:37:11 | 0:37:17 | |
Yusuf straps the Velcro band to one of Oscar's arms, | 0:37:19 | 0:37:23 | |
the other arm is free to push the lever | 0:37:23 | 0:37:25 | |
that operates the front and back brakes. | 0:37:25 | 0:37:27 | |
It's the moment of truth... | 0:37:27 | 0:37:29 | |
Bike trainer Lisa is there to keep an eye. | 0:37:31 | 0:37:33 | |
He's off. | 0:37:35 | 0:37:36 | |
Yes! | 0:37:38 | 0:37:39 | |
-Yeah! -Yay! | 0:37:39 | 0:37:41 | |
Again! | 0:37:47 | 0:37:49 | |
This is really, really wonderful. | 0:37:56 | 0:37:58 | |
Once he can do this, | 0:38:01 | 0:38:03 | |
then hopefully he'll realise that he can do anything. | 0:38:03 | 0:38:06 | |
This feels to me like Yusuf has... | 0:38:06 | 0:38:09 | |
Cracked it. | 0:38:09 | 0:38:10 | |
You said it. | 0:38:10 | 0:38:11 | |
-Thank you. -No problem, mate. My pleasure, my pleasure. | 0:38:11 | 0:38:14 | |
That's fine. That's fine. | 0:38:14 | 0:38:16 | |
Thank you. You've changed his life, Yusuf. I really appreciate it. | 0:38:16 | 0:38:19 | |
I'm really intrigued to see where he goes with it. | 0:38:23 | 0:38:25 | |
Is he going to be a Paralympic cyclist? | 0:38:25 | 0:38:28 | |
Is he going to be a BMX stunt rider doing tricks? | 0:38:28 | 0:38:33 | |
Who knows? | 0:38:33 | 0:38:34 | |
His journey cycling is just kind of beginning. | 0:38:34 | 0:38:37 | |
Hi, Malcolm. This is Zoe ringing about the sheep-rustling project. | 0:38:41 | 0:38:44 | |
Have you got ten minutes for me to ask you a few questions? | 0:38:44 | 0:38:46 | |
Having initially failed to impress the farmers with their tech, | 0:38:46 | 0:38:51 | |
the team start speaking to the police, to vets | 0:38:51 | 0:38:53 | |
and leave no stone unturned. | 0:38:53 | 0:38:56 | |
So I've come to a livestock market | 0:38:59 | 0:39:01 | |
to watch a sheep auction and really see how sheep are bought and sold. | 0:39:01 | 0:39:06 | |
Through you come. | 0:39:09 | 0:39:11 | |
Every sheep has an ear tag with an electronic chip | 0:39:13 | 0:39:17 | |
which identifies it and the farm it's from. | 0:39:17 | 0:39:20 | |
They tell me you are ear tag man. | 0:39:21 | 0:39:24 | |
Do you do chips that go anywhere else on the body or in the body? | 0:39:24 | 0:39:26 | |
-No. -It's just ear tags? -It is just ear tags. | 0:39:26 | 0:39:29 | |
But thieves can easily remove the tags and replace them with new tags | 0:39:29 | 0:39:33 | |
showing a different owner, stopping people knowing they've been stolen. | 0:39:33 | 0:39:37 | |
OK, come on, I wasn't wrong. £80. | 0:39:37 | 0:39:39 | |
Zoe thinks she has a solution. | 0:39:41 | 0:39:43 | |
Those tags are vulnerable. | 0:39:45 | 0:39:46 | |
So I think this fix is about making something | 0:39:46 | 0:39:48 | |
that's internal to the sheep. | 0:39:48 | 0:39:50 | |
Something that the sheep ingests, | 0:39:50 | 0:39:52 | |
can stay in there for the life of the sheep | 0:39:52 | 0:39:54 | |
but can be read by these readers. | 0:39:54 | 0:39:56 | |
So really the next step is about prototyping those | 0:39:56 | 0:40:00 | |
and looking at the materials. | 0:40:00 | 0:40:02 | |
There's a lot to do. | 0:40:02 | 0:40:03 | |
Back in London, Zoe begins planning with Jude and Ross. | 0:40:03 | 0:40:07 | |
If we can get somehow a tag inside the sheep, | 0:40:07 | 0:40:10 | |
then it couldn't be removed. | 0:40:10 | 0:40:11 | |
So sheep actually have something | 0:40:11 | 0:40:13 | |
that they already ingest if they need mineral supplements | 0:40:13 | 0:40:16 | |
and that's a bolus. | 0:40:16 | 0:40:17 | |
So this is an example of a bolus. | 0:40:17 | 0:40:20 | |
Sheep eat stones all the time | 0:40:20 | 0:40:21 | |
and part of their stomach is designed to hold heavy objects. | 0:40:21 | 0:40:26 | |
If we could somehow get a tag inside a bolus, | 0:40:26 | 0:40:28 | |
then we're looking at essentially an internal tag | 0:40:28 | 0:40:31 | |
which is much less easy to remove. | 0:40:31 | 0:40:34 | |
The problem with the current electronic ear tag | 0:40:34 | 0:40:37 | |
is it uses radio waves and needs a specialist scanner to read it. | 0:40:37 | 0:40:42 | |
Jude has a more modern solution. | 0:40:43 | 0:40:45 | |
You might want to consider one of these things, | 0:40:45 | 0:40:47 | |
which is a Bluetooth transmitter. | 0:40:47 | 0:40:49 | |
Also, a key benefit of that | 0:40:49 | 0:40:51 | |
is that anyone can read it with their smartphone. | 0:40:51 | 0:40:53 | |
We can give people an app | 0:40:53 | 0:40:54 | |
and then anyone can look out for stolen sheep. | 0:40:54 | 0:40:56 | |
So with the app on a smartphone and a Bluetooth bolus inside a sheep, | 0:40:57 | 0:41:02 | |
anyone can become a stolen sheep detective. | 0:41:02 | 0:41:05 | |
So can you get a Bluetooth chip into something this size | 0:41:05 | 0:41:10 | |
or maybe, maximum, that size? | 0:41:10 | 0:41:11 | |
-So that's about as big as it can get. -Yeah. | 0:41:11 | 0:41:13 | |
A bolus can sit in a sheep's stomach for its whole life | 0:41:13 | 0:41:16 | |
without causing any harm. | 0:41:16 | 0:41:18 | |
It's a perfect place to hide a tracking device. | 0:41:19 | 0:41:21 | |
So we need that inside that | 0:41:21 | 0:41:24 | |
and a phone that can pick it up. | 0:41:24 | 0:41:26 | |
Yeah! | 0:41:26 | 0:41:28 | |
Jude gets straight to work. | 0:41:31 | 0:41:32 | |
He miniaturises the components | 0:41:32 | 0:41:35 | |
and uses his 3D printer to build a tiny case for the batteries. | 0:41:35 | 0:41:39 | |
Doctor of material Zoe will make the housing for the electronics. | 0:41:40 | 0:41:43 | |
Right, so, I'm going to attempt to make a ceramic case | 0:41:45 | 0:41:51 | |
in which the electronic gubbins will live. | 0:41:51 | 0:41:54 | |
So I've made some plaster blanks. | 0:41:54 | 0:41:55 | |
I can then drill holes into them. | 0:41:55 | 0:41:58 | |
So I'll just get a bit of slip in here. | 0:42:00 | 0:42:02 | |
Pour it into the mould. | 0:42:03 | 0:42:05 | |
Once it's been in the mould for a minute or so... | 0:42:05 | 0:42:08 | |
skin starts to form | 0:42:08 | 0:42:10 | |
and you can tip out the remaining liquid clay. | 0:42:10 | 0:42:14 | |
What's left is a wall and a skin of more solid stuff. | 0:42:14 | 0:42:19 | |
I'm going to put them in the oven just to slowly dry them. | 0:42:19 | 0:42:23 | |
Ta-da! | 0:42:24 | 0:42:26 | |
So that's a slip cast cylinder | 0:42:26 | 0:42:29 | |
which then needs to be fired at 1,260 centigrade. | 0:42:29 | 0:42:33 | |
And that will vitrify the material. | 0:42:33 | 0:42:35 | |
Fingers crossed...nothing cracks or explodes. | 0:42:36 | 0:42:40 | |
After 36 hours, Zoe's joined by Jude | 0:42:41 | 0:42:45 | |
and then she lifts the lid on the kiln. | 0:42:45 | 0:42:47 | |
Look at them, the little beauties. | 0:42:50 | 0:42:53 | |
Oh, I'm pleased with that. | 0:42:53 | 0:42:54 | |
And a battery-powered Bluetooth chip is ready to go. | 0:42:54 | 0:42:58 | |
Can we see if your thing fits into my slot? | 0:42:59 | 0:43:01 | |
-Boom, boom! -That's a good idea. -Just to kick us off. | 0:43:01 | 0:43:04 | |
OK. | 0:43:06 | 0:43:07 | |
Perfect. | 0:43:10 | 0:43:11 | |
Finally, the team dip the boluses in non-toxic wax | 0:43:12 | 0:43:15 | |
to make them easier to swallow, | 0:43:15 | 0:43:17 | |
add the electronics and seal the lids. | 0:43:17 | 0:43:20 | |
Past ten o'clock at night and I go a bit doolally. | 0:43:23 | 0:43:26 | |
A visit to the shops has given Jude another idea... | 0:43:26 | 0:43:29 | |
A way of making the existing ear tags tamper-proof. | 0:43:29 | 0:43:33 | |
I have an ear tag and I have a tamper-evident tag, | 0:43:34 | 0:43:39 | |
which you might have seen in clothing stores. | 0:43:39 | 0:43:41 | |
These things spray ink all over your stolen shirt | 0:43:41 | 0:43:46 | |
if you try and remove these. | 0:43:46 | 0:43:47 | |
Whoo-hoo! | 0:43:49 | 0:43:50 | |
I'm wondering whether that can actually be used to house the ink. | 0:43:50 | 0:43:55 | |
Here goes. | 0:43:55 | 0:43:57 | |
It's my replica sheep's ear. | 0:43:59 | 0:44:01 | |
Let's see what happens when we cut through it. | 0:44:01 | 0:44:04 | |
So, there. That's quite a good amount. | 0:44:06 | 0:44:09 | |
So any rustler that cuts through Jude's ear tags | 0:44:11 | 0:44:14 | |
will mark themselves and the sheep with indelible dye, | 0:44:14 | 0:44:18 | |
making the sheep almost impossible to sell at auction. | 0:44:18 | 0:44:20 | |
We've got the ink spike here | 0:44:20 | 0:44:23 | |
and that's both blue for the visual | 0:44:23 | 0:44:26 | |
but it also contains UV invisible dye, but is visible with this. | 0:44:26 | 0:44:31 | |
After four months' work, | 0:44:33 | 0:44:34 | |
the team have now come up with two new ideas to deter the criminals. | 0:44:34 | 0:44:38 | |
A tamper-proof ear tag and a hidden tracking device. | 0:44:38 | 0:44:42 | |
We appear to have got the prototyping done, | 0:44:42 | 0:44:46 | |
so here it is... | 0:44:46 | 0:44:47 | |
Now they need to put them to the test. | 0:44:49 | 0:44:51 | |
In London, Ross is building a replacement for Graham's stylus. | 0:44:56 | 0:45:00 | |
He's calling it the D-pad. | 0:45:00 | 0:45:02 | |
Just a very quick, very small, very light little device | 0:45:04 | 0:45:08 | |
for Graham to carry around or have with him | 0:45:08 | 0:45:12 | |
and it's going to allow him to control the app using arrow keys. | 0:45:12 | 0:45:16 | |
Ross enlists the help of his fiancee Isabel to build the D-pad. | 0:45:17 | 0:45:21 | |
It's going to have a touch screen | 0:45:22 | 0:45:24 | |
similar to the ones found on Smartphones. | 0:45:24 | 0:45:26 | |
These work by sensing tiny electrical currents | 0:45:26 | 0:45:29 | |
generated by contact with your fingers. | 0:45:29 | 0:45:31 | |
With the lightest touch, | 0:45:33 | 0:45:35 | |
Graham will be able to operate his tablet computer. | 0:45:35 | 0:45:38 | |
They make the buttons | 0:45:40 | 0:45:42 | |
by putting conductive paint on clear plastic vinyl. | 0:45:42 | 0:45:45 | |
The electric buttons will then be mounted | 0:45:50 | 0:45:52 | |
on incredibly light corrugated plastic, | 0:45:52 | 0:45:55 | |
which Ross cuts with a laser cutter. | 0:45:55 | 0:45:57 | |
Perfect. | 0:45:58 | 0:46:00 | |
Meanwhile, Ruby is on a business trip in China. | 0:46:02 | 0:46:05 | |
She's deciding the order of the statements, | 0:46:05 | 0:46:08 | |
either in Graham's voice or using TV or film clips, | 0:46:08 | 0:46:11 | |
using a computer programme called a wireframe. | 0:46:11 | 0:46:14 | |
The point of wireframe | 0:46:15 | 0:46:16 | |
is to communicate to the rest of your team how the app should work. | 0:46:16 | 0:46:20 | |
It allows you to just work out what's on this screen, | 0:46:20 | 0:46:23 | |
where does it go, what can it do? | 0:46:23 | 0:46:26 | |
Both of them are now working through the night | 0:46:28 | 0:46:30 | |
to get Graham's device ready as quickly as possible. | 0:46:30 | 0:46:33 | |
It's quarter to one. | 0:46:34 | 0:46:36 | |
The D-pad is wired up | 0:46:37 | 0:46:39 | |
and I think I've written the code... | 0:46:39 | 0:46:42 | |
..but I can't get it to upload to the board. | 0:46:43 | 0:46:45 | |
And I think maybe it's to do with the way I've wired it up, but... | 0:46:47 | 0:46:50 | |
..I'm not sure how to fix it. | 0:46:51 | 0:46:53 | |
After months of work, we are back at Mike's farm | 0:46:59 | 0:47:02 | |
getting ready to re-enact another sheep rustle. | 0:47:02 | 0:47:04 | |
But this time the farm will be monitored | 0:47:05 | 0:47:07 | |
by our team's specially-built sheep protection app - Herd It. | 0:47:07 | 0:47:12 | |
Be scared. | 0:47:12 | 0:47:13 | |
-Mike! -All right? | 0:47:13 | 0:47:16 | |
-Hiya. -Good to see you. | 0:47:16 | 0:47:18 | |
Oh... Nice pooey hands! | 0:47:18 | 0:47:19 | |
-These guys have been working hard on your behalf. -Have they? | 0:47:21 | 0:47:23 | |
-Does it work? -That's what were going to find out today. | 0:47:23 | 0:47:26 | |
So what we've got is a combination of two things. | 0:47:26 | 0:47:31 | |
A bunch of ear tags, which are going to have dye in them. | 0:47:31 | 0:47:35 | |
The other side of it is you're familiar with boluses, | 0:47:35 | 0:47:38 | |
which is what you'd use with your standard applicator, | 0:47:38 | 0:47:42 | |
but we've basically put electronics in it | 0:47:42 | 0:47:44 | |
that are going to transmit a signal like a beacon. | 0:47:44 | 0:47:46 | |
First, Jude's ink ear tags | 0:47:48 | 0:47:50 | |
are fitted in the existing holes in the sheep's ears. | 0:47:50 | 0:47:52 | |
So there we go. You can see it just coming through here | 0:47:54 | 0:47:57 | |
and there we go, clips in. | 0:47:57 | 0:48:00 | |
-Very simple. -Bob's your teapot. | 0:48:00 | 0:48:02 | |
-To take that ear tag out... -Yeah? | 0:48:03 | 0:48:05 | |
Oh, I see, you'd have to cut it there. | 0:48:05 | 0:48:08 | |
-You'd have to get a pair of scissors. -I'm learning, aren't I?! | 0:48:08 | 0:48:11 | |
No, no, no, that's good. | 0:48:11 | 0:48:12 | |
-If you cut there... -Yeah, yeah. | 0:48:12 | 0:48:14 | |
I know. Yeah, no, no. I let you off there, that's pretty good. | 0:48:14 | 0:48:18 | |
The bolus is swallowed painlessly by the sheep, | 0:48:19 | 0:48:22 | |
with the welfare of the animal monitored by a local vet. | 0:48:22 | 0:48:25 | |
She won't know anything about that. | 0:48:27 | 0:48:29 | |
-It's something that you do all the time on the farm? -Yeah. | 0:48:29 | 0:48:32 | |
It's time to put the tech to the test. | 0:48:32 | 0:48:34 | |
Crack on with your rustle. | 0:48:35 | 0:48:37 | |
Rustle! | 0:48:37 | 0:48:38 | |
Fetch them on, dogs! | 0:48:38 | 0:48:40 | |
Get in! | 0:48:40 | 0:48:41 | |
We've got to imagine it's the middle of the night, pitch-black, | 0:48:41 | 0:48:45 | |
but the rustlers are out. | 0:48:45 | 0:48:46 | |
The lorry's off. | 0:48:46 | 0:48:48 | |
In the back of the van the first layer of protection comes into play, | 0:48:51 | 0:48:54 | |
the ink ear tags. | 0:48:54 | 0:48:56 | |
Well, let's just imagine the scene. | 0:49:00 | 0:49:01 | |
I'm, let's say, an inspector monitoring for rural crime. | 0:49:01 | 0:49:05 | |
Can see some suspicious blue on the ear of the sheep here and this one. | 0:49:05 | 0:49:10 | |
You're not going to miss that. | 0:49:10 | 0:49:12 | |
But look at his hands. | 0:49:12 | 0:49:13 | |
Proof that he's been up to no good. | 0:49:13 | 0:49:15 | |
How long will it stay on? | 0:49:15 | 0:49:16 | |
So this is developed, this dye, for banks, and so it's permanent. | 0:49:16 | 0:49:20 | |
You're rufty-tufty sheep farmers. What do you think? | 0:49:20 | 0:49:23 | |
Yeah, no, it's very good, very good, right. | 0:49:23 | 0:49:26 | |
But I still say that there's nothing tying them back to the owner. | 0:49:26 | 0:49:30 | |
Yeah. | 0:49:30 | 0:49:31 | |
As soon as sheep are off-loaded at the market, | 0:49:37 | 0:49:39 | |
it's time to see if the bolus actually works. | 0:49:39 | 0:49:41 | |
-So the minute I opened my phone it was telling me... -Instantly! -Yeah. | 0:49:42 | 0:49:45 | |
"Found sheep." | 0:49:45 | 0:49:47 | |
-"36846 from flock number four." -Yep. | 0:49:47 | 0:49:50 | |
This is Mike's phone, as it were, | 0:49:50 | 0:49:52 | |
saying your sheep was last spotted at this location. | 0:49:52 | 0:49:57 | |
You just click, it opens the map. | 0:49:58 | 0:50:01 | |
So there you are, it's saying that's where we are. | 0:50:01 | 0:50:03 | |
It shows, look, they're at the livestock auction. | 0:50:03 | 0:50:06 | |
You could ring up... | 0:50:06 | 0:50:08 | |
And tell Andrew that I've caught him. | 0:50:08 | 0:50:10 | |
Yeah, you could say you've got my nicked sheep here. | 0:50:10 | 0:50:14 | |
The test was a spectacular success. | 0:50:15 | 0:50:18 | |
The team hope all farmers will use this technology, | 0:50:18 | 0:50:21 | |
meaning all their mobile phones become sheep detectors. | 0:50:21 | 0:50:24 | |
As soon as a stolen sheep turns up, phones will pick the signal. | 0:50:25 | 0:50:28 | |
They'll be nowhere for a stolen sheep to hide. | 0:50:28 | 0:50:32 | |
If the ownership of that sheep was brought into question, | 0:50:32 | 0:50:34 | |
we could find the bolus to prove that it's not the vendor's sheep. | 0:50:34 | 0:50:39 | |
We could then immediately not offer it for sale, | 0:50:39 | 0:50:41 | |
contact Mike, if it was his sheep, | 0:50:41 | 0:50:43 | |
contact the police and put it in their hands. | 0:50:43 | 0:50:45 | |
It sounds like, from what you're saying, | 0:50:45 | 0:50:47 | |
that this could really, really work. | 0:50:47 | 0:50:49 | |
I think every possibility, yeah, | 0:50:49 | 0:50:51 | |
that it could be one of the only ways of identifying rustled sheep. | 0:50:51 | 0:50:56 | |
I think it's a brilliant achievement | 0:50:56 | 0:50:58 | |
which has potential to be rolled out across the country | 0:50:58 | 0:51:00 | |
and revolutionise traceability in sheep. | 0:51:00 | 0:51:02 | |
Wonderful to hear. You've got the technology to this point. | 0:51:02 | 0:51:06 | |
What do you need to happen next to make this viable for other farmers? | 0:51:06 | 0:51:11 | |
We need to take this as evidence that the principle works | 0:51:11 | 0:51:14 | |
and take it to the National Sheep Association. | 0:51:14 | 0:51:17 | |
The Farmers' Union, government departments... | 0:51:17 | 0:51:19 | |
We need to ring people! | 0:51:19 | 0:51:21 | |
That's fantastic, really. | 0:51:23 | 0:51:25 | |
I mean, God, you know... | 0:51:25 | 0:51:27 | |
Yeah, well done. | 0:51:27 | 0:51:28 | |
Very impressive, that's all I can say on the subject. | 0:51:31 | 0:51:34 | |
I mean, you've shot me down. | 0:51:34 | 0:51:36 | |
Got to learn to use a phone properly now! | 0:51:36 | 0:51:39 | |
Back in London, the team are working flat out | 0:51:47 | 0:51:49 | |
to finish Graham's reaction pad. | 0:51:49 | 0:51:51 | |
Ruby's building four main pages into the app she's devised. | 0:51:51 | 0:51:55 | |
Attention, quick statements, emotions and environment. | 0:51:55 | 0:52:00 | |
They should allow Graham to take part in any conversation. | 0:52:00 | 0:52:04 | |
It's something that will last a lifetime. | 0:52:04 | 0:52:07 | |
For as long as he has something to say or something to react to, | 0:52:07 | 0:52:11 | |
he'll be able to use this | 0:52:11 | 0:52:13 | |
and that's what's really exciting because it's an evolving tool. | 0:52:13 | 0:52:16 | |
Working late into the night and the early morning, | 0:52:17 | 0:52:19 | |
Ross has managed to finish the control pad. | 0:52:19 | 0:52:22 | |
And to give Graham another option, in case his hand gets tired, | 0:52:22 | 0:52:26 | |
he's building him a joystick, too. | 0:52:26 | 0:52:27 | |
-Are you nervous? -Very nervous about the hardware not working, | 0:52:32 | 0:52:35 | |
seeing as I was finishing it on the train up here. | 0:52:35 | 0:52:37 | |
He actually hasn't had any sleep. | 0:52:37 | 0:52:38 | |
-At all? -No. | 0:52:38 | 0:52:41 | |
Do you feel more affected by the emotionality of it | 0:52:41 | 0:52:44 | |
than some of the other fixes? | 0:52:44 | 0:52:46 | |
I definitely felt a very, very strong emotional connection | 0:52:46 | 0:52:49 | |
to this story right from the second that I saw it. | 0:52:49 | 0:52:52 | |
He could be like your dad or your brother or anyone. | 0:52:52 | 0:52:54 | |
When you well up like that, Ruby, | 0:52:56 | 0:52:58 | |
and I see Ross swaying slightly with the exhaustion of the situation, | 0:52:58 | 0:53:04 | |
you've really tried and committed to this. | 0:53:04 | 0:53:06 | |
After six months, | 0:53:07 | 0:53:09 | |
they hope they've built something that will change Graham's life. | 0:53:09 | 0:53:11 | |
Hi, how are you? | 0:53:11 | 0:53:13 | |
We're excited! | 0:53:13 | 0:53:14 | |
It's lovely to see you both. | 0:53:14 | 0:53:16 | |
Are you OK with us gathering around? | 0:53:17 | 0:53:19 | |
Are you feeling a little bit excited or apprehensive? | 0:53:23 | 0:53:26 | |
"Not too bad." | 0:53:32 | 0:53:33 | |
What we've made for you, Graham, is... | 0:53:35 | 0:53:38 | |
this iPad has an app that's been made especially for you, | 0:53:38 | 0:53:41 | |
designed entirely around your requirements. | 0:53:41 | 0:53:44 | |
The D-pad with buttonhole mount. | 0:53:44 | 0:53:47 | |
-Complete with logo. -Complete with logo. | 0:53:47 | 0:53:50 | |
When you see... | 0:53:50 | 0:53:52 | |
..the phrases in here, | 0:53:53 | 0:53:54 | |
when they've got quotation marks, | 0:53:54 | 0:53:57 | |
it means that we've used, in some cases, | 0:53:57 | 0:54:00 | |
Zoe's voice or clips from TV and films. | 0:54:00 | 0:54:03 | |
But every time you see just the phrase written as it is... | 0:54:03 | 0:54:08 | |
..we've actually found clips of you and your own voice | 0:54:09 | 0:54:14 | |
from the home videos that we've dug out the attic. | 0:54:14 | 0:54:18 | |
So that...they're actually you. | 0:54:20 | 0:54:24 | |
We went through about 50 hours of footage. | 0:54:26 | 0:54:29 | |
So it was really nice for us, actually, | 0:54:31 | 0:54:34 | |
to hear you speak and see you move and... | 0:54:34 | 0:54:37 | |
That was really great. | 0:54:38 | 0:54:39 | |
-OK. -You ready? | 0:54:41 | 0:54:42 | |
Cool. | 0:54:42 | 0:54:44 | |
OK. | 0:54:48 | 0:54:49 | |
All right, Graham. Over to you, I guess. | 0:54:50 | 0:54:53 | |
-GRAHAM'S VOICE: -Thank you, Zoe. | 0:54:55 | 0:54:57 | |
Thank you, Zoe. | 0:55:01 | 0:55:03 | |
That's a big smile, Graham. | 0:55:03 | 0:55:05 | |
Shall we open the door, Graham? | 0:55:06 | 0:55:08 | |
Yes. | 0:55:09 | 0:55:10 | |
Graham, do you want to get up? | 0:55:14 | 0:55:16 | |
No. | 0:55:16 | 0:55:17 | |
-No, not at the moment. -He's otherwise occupied. | 0:55:19 | 0:55:22 | |
Graham, does this feel good? | 0:55:25 | 0:55:27 | |
Yes. | 0:55:30 | 0:55:31 | |
That, just in and of itself, must be an enormous relief to you both. | 0:55:31 | 0:55:34 | |
-Yeah. -More. | 0:55:35 | 0:55:37 | |
More. I want you to keep pressing it. | 0:55:37 | 0:55:39 | |
OK, I don't care what you say. | 0:55:39 | 0:55:42 | |
Have a well-earned rest | 0:55:43 | 0:55:45 | |
and a drink. | 0:55:45 | 0:55:47 | |
Zoe... | 0:55:50 | 0:55:51 | |
Thanks, guys. | 0:55:53 | 0:55:55 | |
It was you speaking. | 0:55:59 | 0:56:01 | |
The app has hundreds of clips of Graham's voice | 0:56:04 | 0:56:07 | |
and quotes from film and TV. | 0:56:07 | 0:56:08 | |
More can be added at any time. | 0:56:08 | 0:56:10 | |
-Is this going to help you communicate? -Yes. | 0:56:13 | 0:56:15 | |
Hey... | 0:56:15 | 0:56:16 | |
You got that out before I could finish the sentence. | 0:56:16 | 0:56:19 | |
And he's only going to get faster and faster. | 0:56:19 | 0:56:22 | |
-SCOTTISH VOICE: -I'm busy, fuck off! | 0:56:23 | 0:56:25 | |
LAUGHTER | 0:56:25 | 0:56:26 | |
Yes! | 0:56:26 | 0:56:28 | |
So great to hear your voice coming through again. | 0:56:29 | 0:56:32 | |
I told you to fuck off twice and yet you're still here! | 0:56:32 | 0:56:35 | |
LAUGHTER | 0:56:35 | 0:56:37 | |
All right, we'll take the hint. | 0:56:37 | 0:56:39 | |
Thank you. | 0:56:42 | 0:56:44 | |
It was kind of just even more amazing than I thought. | 0:56:46 | 0:56:48 | |
He got so quick at it so fast. | 0:56:48 | 0:56:50 | |
It was just so good. | 0:56:50 | 0:56:51 | |
Give him a week, think how fast he's going to be in a week, I can't wait. | 0:56:51 | 0:56:55 | |
Go on, have a hug. | 0:56:55 | 0:56:57 | |
The team have finished their work. | 0:56:57 | 0:56:59 | |
We leave Zoe and Graham to chat for the first time | 0:56:59 | 0:57:03 | |
since his life-changing stroke. | 0:57:03 | 0:57:05 | |
-GRAHAM'S VOICE: -I've just had a wash. -You have. | 0:57:05 | 0:57:08 | |
-Are you ready to go out? -Yes. | 0:57:08 | 0:57:10 | |
Are you sorry for anything? | 0:57:11 | 0:57:13 | |
No! | 0:57:15 | 0:57:16 | |
So when I leave here tonight, you can say... | 0:57:18 | 0:57:20 | |
-See you tomorrow. -Yeah. | 0:57:20 | 0:57:22 | |
I love you, Zoe. | 0:57:24 | 0:57:25 | |
See you tomorrow. | 0:57:25 | 0:57:27 | |
Our team's inventions are already changing lives. | 0:57:30 | 0:57:33 | |
Oscar is getting more confident on his bike every day. | 0:57:34 | 0:57:38 | |
The Fix Team are meeting farmers' unions | 0:57:38 | 0:57:41 | |
to drum up interest in their sheep protection system. | 0:57:41 | 0:57:44 | |
Graham has left hospital and moved back home. | 0:57:44 | 0:57:46 | |
Ross and Ruby have designed extra functions for his reaction pad app. | 0:57:46 | 0:57:51 | |
-GRAHAM'S VOICE: -Meow! | 0:57:52 | 0:57:53 | |
Next time... | 0:58:01 | 0:58:02 | |
I just trip over a lot and I can't stop. | 0:58:02 | 0:58:05 | |
Can the team design a medical helmet with style | 0:58:05 | 0:58:08 | |
for a young David Bowie fan? | 0:58:08 | 0:58:10 | |
HE SINGS | 0:58:10 | 0:58:13 | |
..and build technology to give a partially-sighted mum | 0:58:13 | 0:58:16 | |
the freedom to go outdoors? | 0:58:16 | 0:58:19 | |
We're here! | 0:58:19 | 0:58:20 | |
And help two brothers break the monotony of daily treatment? | 0:58:20 | 0:58:23 | |
And every time you blow, the red car accelerates. | 0:58:23 | 0:58:26 | |
I have never, ever seen this before. | 0:58:26 | 0:58:29 |